“No, I mean, everything we shot is in the final cut. And I mean, honestly, every episode that I worked on has such great stuff in it. The ones that ... [Read More]

“Bryan Buckley of Hungry Man directed the minute-long spot from agency GSD&M, which begins with a shot of Travolta’s walking shoes [shot by DP Scott Henriksen], just as the iconic ... [Read More]

“[DP, Jamie D. Ramsey]: This movie, from the very first discussion with the director, needed to have a subtle nostalgia that was indicative of the analog era of the ’80s/’90s, ... [Read More]

“[DP, Karim Hussain]: All the hallucination scenes were done live and in-camera without CGI, using projections, dichroic film draped over the lenses and hand-held split field diopters. The idea was ... [Read More]

“The production featured a crew of nearly 30 people headed by U.S. cinematographer Bill Kirstein, who shot the film using three 4K cameras. “I went into the shoot a little ... [Read More]

Filmed in black and white, “Opus” focuses on the physicality of Sakamoto’s performance. The selection of music and their order in the film were decided by the musician himself. Sora, ... [Read More]

“The project takes a darkly satirical look at religion, life, death and obligation [all lensed by Pepe Mendes, ABC] as each family member gets acquainted with the equally enthralling and ... [Read More]

“That was the case with cinematographer Eric Steelberg, who worked on The Mandalorian, Ahsoka, and even Ghostbusters: Afterlife, among many other notable projects. In an interview with The Direct, he ... [Read More]

[Writer/Director Jamie Neale]: This film has been instrumental in helping me discover and nurture a more authentic voice within my work. For the past few years, it felt like I ... [Read More]

“[Eric Steelberg, ASC:] It was great. It was a dream come true. They’re all incredibly collaborative. Dave, as the showrunner, creator, director, number-one fanboy, all of it – everybody knows ... [Read More]